Canon of Qanun (4)

  

Hassan Elgharbi
Mohammed El Akkad
Le Qanoun Enchanté
Solos de Cithare

1991

Tracks:

Hassan Elgharbi:

01 - Chiraz [11:27] Ochaq, Rasd, Hidjaz kar, Rasd-dhil, Nekriz
02 - Bayati [5:09] Hsine, Berouel
03 - Hidjaz [6:57] Asbaïne, Dhikra
04 - Improvisiations [11:51] Raw'a, Nahawend, Mhayer Sika, Maa Elasr, Lami
05 - Taqassims [8:38] Jaharka, Mezmoum, Ya Faiza, Zengrane

Mohammed El-Akkad:

06 - Taqsim Higaz Kar ala Elwahda [5:54]
07 - Bachraf Suzdellara [6:51]

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Tunisian Elgharbi Hassan, Hasan al-Gharbi or حسن الغربي, is one of the most famous qānūnīīn in the twentieth century (he died in the 1990th). 

Hassan Elgharbi, Hasan al-garbī o حسن الغربي (el occidental, por su origen tunecino) es uno de los más célebres qānūnīīn del siglo XX (murió en los '90). Fue cocinero antes de sastre, es decir, luthier antes que qānūnī. Para los aficionados, si se quiere situarlo mejor, podemos decir que fue uno de los maestros del afamado Julien Jalal ed-Din Weiss, qānūnī y director de al-Kindī. 

El disco se completa con grabaciones de principios de siglo (XX) a cargo de Mohammed Elakkad.

Muḥammad Al-‘Aqqād

source of the pic and more to listen to...  

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Canon of Qanun (2)

   

Soliman Gamil   
L'Art Du Kanoun Egyptien
1982

Tracks:

1. Improvisation traditionnelle - 5:38
2. Improvisation libre - 3:02
3. Variation sur le thème folklorique 'Atshan ya Sabaya' - 6:52
4. Variation sur le thème traditionnel 'Ah ya Zein' - 6:20

          

Suite folklorique: 

 

 5. Dialogue sufi entre qanun, luth, tabla - 5:19
6. La Nubie (Rhythme Nubien Et Tonalité Pentatonique) - 5:29
7.  Dialogue qanun, nay, clarinette, arghul, miamar - 7:31
8. Dialogue qanun, hautbois et flûte traversière - 1:22

  

  Musicians:

  
 Soliman Gamil - Qanun

&

Troupe de la Musique Folkorique Egyptienne

 

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.ღ•:*´♥`*:•ღ. 

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"The Egyptian composer Soliman Gamil is also an instrumentalist. He studied the theory of Arab music and learned to play the qanun at the Institute of Arab Music in Cairo (1941-1945), whilst also working on composition. He is a member of the International Society of Musicologists and now lives in Switzerland. In 1969, he founded the Egyptian Folk Music Troupe for the Swiss Ministry of Culture."
   

Soliman Gamil was a musicologist and composer who lived and worked in Cairo, Egypt. Born in 1924, his soundtracks for theatre and film have won international awards. His compositions are frequently used for radio and television. Soliman Gamil died in 1994. 
   

discogs

Soliman Gamil (Arabic: سليمان جميل‎; b. Alexandria, Egypt, December 24, 1924; died June 13, 1994) was an Egyptian composer and qanun player. In 1963 he began to experiment with the use of Egyptian traditional musical instruments in his compositions for films and theater, in an effort to evoke the sounds of Ancient Egypt.

He also wrote about music for the Al-Ahram newspaper.

wiki

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Canon of Qanun (1)

    

Qanun

East Mediterranean 

Musical Instruments

Egypt, Syria, Liban, Turkey, Greece

2003
    

Tracks:

01 - Mostafa Masri - Bayati Taqsim And Samai (El-Aryane)
02 - Samer Hamdan - Nahawant Taqsim And Folk Danse
03 - George Hakim - Rast Taqsim And Doulab
04 - Husein Unal - Hicaz Taksim And Pesrev (Veli Dede)
05 - Husein Unal - Huzzam Taqsim And Pesrev
06 - Husein Unal - Rast Takisim And Metal (Ali Rifat Bey)
07 - Petros Tabouris - Ballos
08 - Petros Tabouris - Yenovefa
09 - Petros Tabouris - Kalamatianos
10 - Petros Tabouris - Rast Zeibekikos
11 - Petros Tabouris - Hasapikos

Musicians:

 
Egypt - Mostafa Masri - Syria - Samer Hamdan
Lebanon - George Hakim - Turkey - Husein Unal
Greece - Petros Tabouris

    

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.ღ•:*´♥`*:•ღ. 

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Qanun

The kanun (Arabic: قانون‎, qānūn, pl. qawānīn; Greek: κανονάκι, kanonaki; Armenian: քանոն, k’anon; Persian: قانون‎, qānūn; Azerbaijani: qanun; Turkish: kanun) is a string instrument played in much of the Middle East, Central Asia, and southeastern Europe. The name derives from the Arabic word kānun, which means "rule, norm, principle" itself from ancient Greek 'κανών' rule. Its traditional music is based on maqamat. It is a type of large zither with a narrow trapezoidal soundboard. Nylon or PVC strings are stretched over a single bridge poised on fish-skins on one end, attached to tuning pegs at the other end...

wiki

  

 Folk instruments of Greece: 

Kanonaki (Kanoun)

The origins of this fascinating instrument are found in Asia, many centuries before the Classical Greek Era. It was then known by the name of PSALTIRION. However, it is believed that KANONAKI owes its name to Pythagoras , the great Greek Mathematician who was a musician as well, and who observed, as it is said, the harmony of stars. As an experiment, he produced a basic musical instrument, a monochord (only one string), the "kanon" which he divided into seven spaces. We do not exactly know when the PSALTIRION was named KANONAKI. It's very probable though that this happened with the growth of Islam and the contact of Arabs and Turks with the people of Europe.

We find similar instruments under the names of triangle psaltirion, magadis, epigonion, simikion etc. in written sources of Classical Greece, but there is not a definite evidence whether they are the same PSALTIRION. On the opposite, in Byzantine and Metabyzantine years there is plenty of visual information about it in illustrated manuscripts and wall paintings in churches.

 

 source

About Qanuns

قانون (Qanun) means "law" in Arabic and probably derives it's name from the Greek "κανών"(Kanon) meaning "rule".  It was most likely given the name because in traditional ensembles it lays down the law of pitch for the other instruents and the singer.  The Qanun is known to have been a part of Middle Eastern music since at least the 10th century.  It's widely believed to have descended from the ancient Egyptian arched harp.  Altough it's exact origination is not known there are local legends attributing it's creation to Ibn Al-Farabi.  Farabi was a philosopher born in a village called Wasij (near Farab, Turkistan) in 870.  Al-Farabi wrote a rather extensive ammount on music theory in both Arab and Persian classical music.  His works include a book titled 'Kitab al-Musiqa al-Kabir (Book of Great Music)' and a treatise on therapy called 'Meanings of the Intellect' which addressed music as a form of therapy.  He was know to have played and invented several instruments and was such an accomplished player he could make his audience laugh or cry at will...

read it all here

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Allo, Allo, Allo Beirut - Happy New Year!

  

Sabah ‎– شمس الشموس 

The Wonderful World of Sabah
1966

Tracks:

A1     الو بيروت Allo ... Bayrouth    ♥

A2     يا بيت الدين Ya Beit Eddine    
A3     القلعة El Kalaa    
A4     من الشام لبيروت Menesham Lebayrouth    

B1     شفتو بالقناطر Sheftou Bel Anater    
B2     عالورقة خرطشت شوي Al Warka Kharbtasht    
B3     دبكة من هالوادي Dabka Men Hal Wade    
B4     عطشانة يا صبايا Atshana Ya Sabaya    

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.ღ•:*´♥`*:•ღ. 

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The World mourns Sabah the singer, beautiful symbol of a vanished golden age.

With an ‘entire past’ fading, the death of an admired diva revives memories of the lighter side of life from Cairo to Beirut.

As a child in the late 1950s, the leading Egyptian theatre director Hassan el-Gueretly remembers accompanying his mother to the workshop of Pierre Clouvas, a couturier in central Cairo. Various Miss Egypts bought their dresses there, as did Sabah, the Lebanese singer and actress. For the young Gueretly, it gave a rare frisson to see the superstar’s avant-garde clothes up close.

“I remember walking around the atelier and seeing Sabah’s robes hanging on mannequins in the next room to my mother,” Gueretly recalls. “As a lover of performance and film, I was thrilled to move among her clothes.”

Sabah died 26st of November, aged 87, and her death prompted in Egypt as much as in Lebanon an outpouring of warm memories. At a bleak moment for the region, Sabah’s joyous career and character are reminders of a lighter side to life.

“When you think of the gloom we’re in in the Arab world, to hear her voice is to make life liveable,” said Gueretly. “It doesn’t make me nostalgic – I don’t think in terms of past and present, I think of the future – but to hear this dead woman sing, it makes you think she has a lot more life than many people who are living.”

Born Jeanette Feghali in a mountain village in Lebanon, Sabah took her nickname from the Arabic word for morning, an appropriate nom-de-plume for a woman adored for her sunny vitality. She moved to Egypt in the 40s and became a star of musical cinema, appearing in more than 80 films, performing about 3,000 songs, and developing a reputation for bold fashion choices.

Few remember Clouvas now, and while central Cairo still has its charms, it is no longer grand, and the shops are no longer fancy. Sabah is a throwback to what, according to one nostalgic narrative, was a more triumphant era. An era not of fundamentalism but of pan-Arabism. Of a Cairo, where Sabah spent her cinematic heyday in the 40s and 50s, that housed a flourishing film industry – a Hollywood-on-the-Nile or “Niley-wood”, as Gueretly jokes. And of a pre-civil war Lebanon whose celebrities one by one are dying.

“With her passing away, an entire beautiful past of Lebanon passes away,” Walid Jumblatt, the Lebanese politician, wrote last week. “She was a great singer of a Lebanon that my generation knew that will never come back.”

If in artistic terms Sabah was of another time, in social terms she was in some ways ahead of it. Other divas of her era married and divorced several times. Sabah’s nine or 10 marriages – no one is certain which – outnumbered everyone else’s. She broke taboos with her frank and frequent pronouncements about men and desire. And as she got older she ignored pressure to hide herself away, continuing to wear outlandish outfits and date younger men.

“In a male-dominant society, she was a symbol of woman power,” said Helen Shammas, a Syrian-Lebanese artist and writer who is related to one of Sabah’s husbands. “She was a free woman with nothing to hide. Joy, terror and disappointment all showed behind her heavy makeup. What amazes me most is that she was never ashamed of her old age – she dressed in outfits that betrayed her decaying body. I loved her acceptance of life.”

With fellow divas Fairouz and Umm Kulthum, Sabah became one of the undisputed giants of the age, building a successful stage career in Beirut after leaving Cairo for good in the 60s.

Unlike Fairouz, Sabah’s work was not political, apart from a couple of songs that dealt with pan-Arabism. And unlike Umm Kulthum, her songs were not weighty or serious. Nor was she a strong actress.

Instead her vocal technique, her warmth and sincerity as a performer, and the lighter nature of her songs [Yana Yana] were what made her loved. “She had no relationship with political issues – and that’s why people needed her,” said Momen al-Mohammadi, an Egyptian author and thinker.

Salwa, a Bahraini lawyer, recalls watching Sabah perform at a private wedding in the 80s, at the height of the Lebanese civil war. Her warmth has left a lasting memory. “Usually the famous singers would leave weddings quickly, but Sabah really looked like she was happy to be there,” remembers Salwa. “She would go up to people and interact with them. She sang old songs, new songs, whatever anyone asked her to. She was smiling the whole time.”

And she took people’s minds off the conflict in her homeland, says Salwa. “She was singing and dancing and jumping around when Lebanon was in a war – and she showed a different side to the country. Back then people didn’t go on holiday to Lebanon, and she was one of the few happy Lebanese people we saw.”

In Lebanon itself, 30 years on, Sabah’s death is about more than just the departure of an entertainer. For Fadi al-Abdallah, a Lebanese poet and critic, it has also raised gnawing questions about the nature of Lebanese identity.

“There is a general feeling that the symbols of the era are leaving, and that at the same time they haven’t been replaced by a new generation,” says Abdallah, who wrote a widely shared paean to Sabah last week.

“There is the feeling that the old times were better, and also objectively that the new era of art is less interesting, and less capable of leaving a mark in our heads and hearts. And that the ingredients of our identities are being more and more lost.”

source

wiki 
  

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